THE GLUE FACTORY PROJECT

An annual production created on nationally and internationally recognized performing artists over the age of 40.

“THE GLUE FACTORY PROJECT is more than just a project, it is a philosophy. Not just a single stand-alone piece but also a continued work in progress — like aging itself. Being “put out to pasture” is an inherent risk in the life cycle of a performing artist. However, these performing artists engaged in the PROJECT, are in their prime, where experience and wisdom have taken root and the most compelling artistry is yet to be discovered.” — Beth Corning

THE GLUE FACTORY PROJECTS ARE AVAILABLE FOR TOURING. PLEASE CONTACT US FOR FURTHER INFORMATION

photo by Frank Walsh

2014﻿ PARALLEL LIVES﻿VOTED #3 in the Pittsburgh Post Gazette's TOP TEN DANCE EVENTS of 2014:(includes both local & national touring companies)! Corningworks (New Hazlett Theater, Sept. 10): Beth Corning provided a dance theater commentary on how technology keeps us in touch, but at a hefty price, in "Parallel Lives." An extended duo with noted performer Arthur Aviles, this was a sad but hauntingly wonderful piece following two lonely people, one that made great use of Akiko Kotani's fiber art scrims, Hsuan-Kuang Hsieh's projections, and lighting designs by Iain Court.

"...an artful bit of social commentary … beautifully conceived staging … delves as far into full-bodied comedy as I've seen Corning get … I've seen dozens of shows at the New Hazlett Theater, I can't recall one with a more inventive stage setting … It's a breathtakingly simple ...The whole show is rewarding …both Corning and Aviles are gesturally eloquent, communicating the pain and disquiet of otherwise inarticulate humans"— Bill O'Driscoll, City Paper

"...a success…a richly textured experience… It has both laughter and sadness, sometimes in the same moment… a wry commentary… Given the eloquence with which she uses dance theater, her current work is a boon for those who appreciate the performing arts." — Mark Kanny Pittsburgh Tribune Review

"...mouth-watering details, so carefully assembled and thoughtfully presented, a trademark of Ms. Corning's work… she is nothing if not deliberate and maintains a bold vision… spellbinding… breathtaking finesse… "Recipes" should be seen by all women and the men who want to understand the mystery, power and awe of the opposite sex. — Jane Vranish, Pittsburgh Post Gazette

"…memorable... hilarious, but poignant and relevant… The show was filled with that wonderful balance of humor and seriousness". — Adrienne Totino, Coal Hill Review

thought-provoking use of contrast and juxtaposition… the performance is moving, and its strong effect on the audience prompted me to reflect on how correct Corning is in her observation that these recipes seem as if they are written into our DNA" — Wendy Aaron, The Pittsburgh Tatler

VOTEDone of SEVEN MOST TRANSPORTIVE DANCE PROGRAMS OF 2013 by Steve Sucato Pittsburgh City Paper"… the performance transported audiences into a riveting realm of emotional loss, where physical reminders of departed loved ones haunted the living" READ MORE: CITY PAPER

VOTED#6 in the Pittsburgh Post Gazette's TOP TEN DANCE EVENTS of 2013: (which includes both local & national touring companies)! "… producing vivid images that still remain for the rest of us."READ MORE: PITTSBURGH POST GAZETTE

“…clever use of props and smart stagecraft. From the moment the one-woman show opened -- a sense of personal loss revealed itself … That sense of loss would over the course of the production settle in like a fog blanketing it and seep into Corning’s meticulous performance of it as well as into the hearts and minds of the audience. Corning tugged hard at the heartstrings of those in attendance who live with the memories of departed loved ones. A master of the subtle gesture, Corning turned a slight wrinkle of her nose, the brush of a hand on her thigh and a pensive glance over her shoulder into meaningful moments. Remains was dense with such moments. Remains was a glowing success. The work captured the emotional toll of loss from a very personal place without melodrama. Corning was at the top of her game in it and it served to carve out a new and intriguing direction in her work. — Steve Sucato, national dance critic ARTS AIR

Details abounded throughout the evening. "Remains" will stay with the audience in its own way, creating its own patina over time by virtue of the vivid images created by Ms. Corning and Mr. Serrand. It will also serve as a platform to reflect on our own lives and, yes, to relish our own remains. — Jane Vranish, Pittsburgh Post Gazette Corning's “Remains” is a powerful exploration of experiences that will come to all of us if we live long enough… boldly conceived, emotionally varied and deeply personal… a tour de force… The coda is a theatrically bold gesture, but also inevitable and characteristic of Corning's aesthetic orientation.— Mark Kanny, Pittsburgh Tribune Review________________________________________________________________

2012 The Life & Death of Little Finnstarring Beth Corning, Melinda Evans, Marina Harris created in collaboration with COMPANY XThe Children's Museum of Pittsburgh

VOTED#4 in the Pittsburgh Post Gazette's TOP TEN DANCE EVENTS of 2012: The Glue Factory Project (Children's Museum of Pittsburgh, Sept. 12): "The Life & Death of Little Finn" was an intimate folk tale. But in retrospect, "Finn" was a big juicy piece of art, with animation, movement, theater, video, musical accompaniment and some delicious puppetry to boot.Read more: THE POST GAZETTE

“ This was art, a combination of animation, movement, theater, video, musical accompaniment and, most of all, puppetry, placed lovingly under a microscope, or, in more personal terms, Ms Harris' discerning and sometimes oddball eye…a different way of moving, more patient, often more gratifying… a frank look at life…coated with a dark sense of humor, sometimes bordering on absurdist… a giant shadow box…a roust extension of Joseph Cornell’s iconic art and full of so many delicious components that were presented with a strong artistic and intimate significance. So much so that it’s well worth another look at the winsome, unapologetic and ultimately winning “Finn.” — Jane Vranish, The Post-Gazette

“…delightful, if darkly funny production…a poignant narrative, told with sympathy shaded y mordant humor…the show is all in its tone and details… an exquisite trio…beautiful, and ends with a perfectly staged detail: a human hand on a puppet-sized proscenium, stubbing out a cigarette in a tiny spotlight”— Bill O’Driscoll City Paper

“…dry and bittersweet; it bears the knowing and ironic perspective of a group of creators who have “been there, done that”…painstakingly handcrafted with exquisite care and craftsmanship…a steady interplay of contrasts… quiet and charming, offering a wry and whimsical perspective on the small dramas of little lives.” — Wendy Arons The Pittsburgh Tatler

“this is the best work I’ve seen in Pittsburgh” — University of Chatham MFA writing student

“The black side leg curtains were adorned with ten big, juicy red bows, as if this performance of “Are We There Yet?” would be a gift. It was... an amazingly rigorous piece of dance theater, enhanced by a life perspective and a sense of timing that we rarely get to see... Corning’s imagery is often as quietly stunning as a performance of “Swan Lake” can be openly and physically stunning.”— Jane Vranish CROSSCURRENTS

“Do yourself a favor and head over to the New Hazlett Theater and The Glue Factory Project…”A Seat at the Table” offered slices of life — some delightful, others poignant or thoughtful, and sometimes all at once. … The images, the kind that last well after a performance, were plentiful… If this was vintage dance, it was a very good year.” — — Jane Vranish CROSSCURRENT

“…a striking example of dance theater…arresting solos and ensembles that build to a decisive conclusion. Although playfulness and spontaneity are essential parts of the piece, it has a cumulative impact that results from Corning’s master of large-scale form…” — Pittsburgh Tribune Review

“… small gestures and glances spoke volumes. Wonderfully constructed and thoughtfully performed, A Seat At The Table was a delight.” — DanceMagazine_________________________________________________________________

“… the mischief of toddlers and the more plaintive wisdom of age mix freely… extraordinary performers reveal a lucent quality… a fascinating concert ranging from subtle introspection to brazen revelation.” — Linda Shapiro, St. Paul Pioneer Press_____________________________________________________________________

“…a scrapbook brought to life--without the cloying nostalgia and heartfelt advice that form might suggest… the sense of ease found only in mastery of a craft is readily apparent… great sensitivity and intelligence…” — Caroline Palmer, Mpls. City Pages